#bela-tarr

#bela-tarr

Bucharest's buildings are marked with a bright-red disk, indicating that, in the next earthquake, this building could fall down, as explained by Radu Jude.

François Ozon's adaptation of The Stranger, while visually stunning, reveals the limitations of cinema in depicting the complex inner states of consciousness that Camus masterfully crafted in his text.

Claude Chabrol, the celebrated co-founder of the French New Wave, stated, 'Because men are living, and women are surviving. Cinema is about surviving.' This profound insight influenced Petzold's approach to storytelling.

Kluge was an accomplished director of intellectually rewarding, if at times oblique filmic essays, and an ever-productive writer of short fiction. He played a key role in organising the rule-breaking New German Cinema movement that brought forth better-known auteurs such as Rainer Werner Fassbinder and Werner Herzog.

The Drama is a more localized version of the same thing: If you do something bad (or almost do something bad, or do something bad out of your own control), how mad should people be at you - really?

Ilker Catak's Yellow Letters and Emin Alper's Salvation, two politically outspoken films that examine Turkish president Recep Tayyip Erdogan's autocratic regime, shared the top prizes at this year's Berlinale: the Golden Bear for Catak and Silver for Alper. These striking works share a lot more. Both titles are co-produced by Liman, an indie film company from Turkey.

You can be alone, with a camera in your hand, and you can walk. In that moment, the medium sheds the expectations attached to narrative production. You don't need to have something specific in your mind. You don't need to have in mind that you have to do something with it at some point. This is freedom.

Rosanna Arquette spoke about her time on the film in an interview with the Sunday Times in which she said she's "over" the "use of the N-word," adding that she cannot stand that Tarantino "has been given a hall pass. It's not art, it's just racist and creepy."

"The film was shot in Ultra Panavision 70 with lenses that yielded an aspect ratio of 2.76 to 1, and it was breathtaking," Scorsese said. "But it wasn't just the size of the image, it was the imprint of the man behind the camera who knew how to fill that frame, how to compose it. And composer seems like the right word to describe George Stevens and the extraordinary level of artistry he reached at that point in his life and career."

He's a ubiquitous face, showing up regularly in all sorts of supporting parts (big ones as well as glorified cameos), but he so rarely gets the chance to carry a feature. In The Only Living Pickpocket in New York, which world premiered at Sundance and is now playing at the Berlin Film Festival, he does exactly that, holding our attention with those sad, watchful eyes and his lanky determination.

More than 80 actors, directors and writers who are current or former participants in Germany's Berlin International Film Festival have signed an open letter condemning the organization's "institutional silence" and "censoring" over the war in Gaza. The open letter, first published by leading US entertainment trade magazine and website Variety, was signed by the likes of British actress Tilda Swinton, Spanish actor Javier Bardem, Brazilian director Fernando Meirelles and British filmmaker Mike Leigh.